Christopher L. Ballengee – författare

Contributions by Rudyard J. Alcocer, Christopher L. Ballengee, Lázaro J. González, Koby Bryan Hansen, Kim Johnson, Shweta Kishore, Sinah Theres Kloß, Gabriela Martínez, Thomas Matusiak, María Fernanda Miño, Rachel Moseley-Wood, Bernardo Oliveira, Rupa Pillai, Ana Patricia Rodríguez, Keya Saxena, Lisa Tomlinson, Vuk Vuković, and Bartosz WójcikShooting Back: Documentary Film in Latin America and the Caribbean brings much-needed critical attention to the documentary and ethnographic filmmaking traditions of Latin America and the Caribbean, regions where fiction cinema has long dominated scholarly discourse. This wide-ranging collection explores the diverse social, cultural, political, and institutional forces that shape nonfiction filmmaking across the hemisphere.Featuring essays from leading and emerging scholars, the volume examines how documentary and ethnographic films have responded to and influenced political movements, national identity, and cultural memory. Contributors investigate how these films affirm or contest colonial legacies, challenge systems of power and inequality, and reflect ongoing struggles around migration, diaspora, and decolonial thought.In addition to thematic explorations, Shooting Back delves into the practical realities of filmmaking in the region, from production and distribution to the roles played by educational and governmental institutions. The collection also considers the impact of film festivals, evolving technologies, and transnational networks, offering comparative analyses of key works and filmmakers.As both a scholarly intervention and an invitation for further research, Shooting Back situates Latin American and Caribbean documentary within broader conversations about global cinema, postcolonial critique, and Global South studies. This volume is an essential resource for film scholars, Latin Americanists, and anyone interested in the political and aesthetic power of nonfiction film.

Contributions by Rudyard J. Alcocer, Christopher L. Ballengee, Lázaro J. González, Koby Bryan Hansen, Kim Johnson, Shweta Kishore, Sinah Theres Kloß, Gabriela Martínez, Thomas Matusiak, María Fernanda Miño, Rachel Moseley-Wood, Bernardo Oliveira, Rupa Pillai, Ana Patricia Rodríguez, Keya Saxena, Lisa Tomlinson, Vuk Vuković, and Bartosz WójcikShooting Back: Documentary Film in Latin America and the Caribbean brings much-needed critical attention to the documentary and ethnographic filmmaking traditions of Latin America and the Caribbean, regions where fiction cinema has long dominated scholarly discourse. This wide-ranging collection explores the diverse social, cultural, political, and institutional forces that shape nonfiction filmmaking across the hemisphere.Featuring essays from leading and emerging scholars, the volume examines how documentary and ethnographic films have responded to and influenced political movements, national identity, and cultural memory. Contributors investigate how these films affirm or contest colonial legacies, challenge systems of power and inequality, and reflect ongoing struggles around migration, diaspora, and decolonial thought.In addition to thematic explorations, Shooting Back delves into the practical realities of filmmaking in the region, from production and distribution to the roles played by educational and governmental institutions. The collection also considers the impact of film festivals, evolving technologies, and transnational networks, offering comparative analyses of key works and filmmakers.As both a scholarly intervention and an invitation for further research, Shooting Back situates Latin American and Caribbean documentary within broader conversations about global cinema, postcolonial critique, and Global South studies. This volume is an essential resource for film scholars, Latin Americanists, and anyone interested in the political and aesthetic power of nonfiction film.

Music, Sound, and Documentary Film in the Global South, edited by Christopher L. Ballengee, represents an important step toward thinking about the production and analysis of the soundscapes of documentary film, all while exploring a range of social, cultural, technological, and theoretical questions relevant to current trends in Global South studies. Written by a diverse set of authors, including filmmakers, academics, and cultural critics, the ten essays in this book provide fresh evaluations of the place of music and sound in documentary films outside the European-American milieu. On the whole, the authors illuminate how the invention of documentary film was at first a product of the colonialist project. Yet over time, access to filmmaking technologies led to the creation of documentary films relevant for local communities and national identities. In this sense, documentary film in the Global South might be broadly defined as a mode of personally or politically mediated storytelling that, by one route or another, has become a useful and recognizable means of memorializing traumatic histories and critiquing everyday lived experience. As the essays in this volume attest, close readings of documentary soundscapes provide fresh perspectives on ways of hearing and ways of being heard in the Global South.